“Star Wars: The Force Awakens” — (kind of) a review of the John Williams soundtrack

The film is glorious, the music respectful and supportive. But when the visuals are removed, and we can concentrate on just the soundtrack, a glorious backdrop bathes us in its suddenly revealed limelight.

I downloaded John Williams’ soundtrack of the brill “Star Wars: The Force Awakens”, just about on Sarah’s bidding.

My impression of the music which accompanied the film whilst I was watching it was positive: it supported the story; like good direction, too, it didn’t draw attention to itself with histrionic fireworks. It worked hand-in-glove — comfortable, nostalgic, kindly hand-in-glove — with the sometimes very tender, silver-screened story being told.

This was a story of re-encounter, of the inevitability of ageing, its gracious taking-of-leave, the wonder of its facing-up-to. But it was also a story for a new generation, for new generations. As I underlined in another place:

The film tells an interesting story of someone who was a stormtrooper, passed himself off as the resistance — and then became a really committed member of the ship.

It’s interesting how, as big fans of such ships of sci-fi state, we may miss out on the importance of key elements like the aforementioned: and I realised afterwards, as I mulled over the film’s ins and outs (as you always do with good Hollywood films), that without the above storyline — it’s as key as this — we may have witnessed a replay of the prequel disasters … financially fabulous as they were, even as soulless re-imaginings of glories long past.

“The Force Awakens” is not like that, for the reasons I allude to in my previous piece.

The music of “The Force Awakens” isn’t either. It may or may not prove a financially coherent proposal; what it most certainly won’t be judged as is a soulless re-imagining. Whilst I listen to it, writing this review as I am, I am struck by its symphonic nature: not so much in structure, but certainly in ambition, scope, vibrancy, plurality … as well as its powerfully explorative pursuit of grand musical entity.

We are almost in the presence of a Beethoven of the popular music era — of the popular era in the sense that few of the pieces are more than three minutes in length, yet none of them seems shoehorned into the time made available. As you listen, you don’t feel hurried, squeezed, out of breath or denied the space to appreciate the movement, interplay and harmonic games Williams plays.

There is clear love from Williams expressed to his art, and for his role in this obviously industrial cultural project.

This is more than apparent.

What’s more, whilst there is reference made to previous incarnations, previous achievements, and previous scenes the franchise’s fans will love and treasure, there is also an innovation of convincing strength.

It doesn’t quite sound like Aaron Copland — except insofar as it shares the instrumental lightness of touch alongside the discursive and plentiful musical imagination of Copland’s work — but it does create a world which is as equally coherent, self-sustaining, driven and knowing.

Except that in Williams’ case, he has written for the soundbitten, radio-playlisted, popcorn-selling industry that is American cinema.

And I am fully blown away …

Star Wars: The Force Awakens (Original Motion Picture Soundtrack)

Originally published at lifeworklab.uk on December 27, 2015.